STYLUS [‘staɪləs] is a
device attached to the cartridge in the pick-up arm of a record player that
rests in the groove in the record, transmitting the vibrations to the sensing
device in the cartridge; a Washington DC-based turntable ensemble that performs
with multiple vintage classroom turntables as their instruments, using
locked-groove and prepared vinyl to create a sound that is minimalist,
pulse-like and hypnotic yet also dynamic and punctuated.

STYLUS BLKARKESTRA – featuring
STYLUS turntable ensemble with additional performers from Washington’s
avant-garde, modern classical and noise communities – staged a major work
for large ensemble and vintage turntables at the 2014
Sonic Circuits Festival on Sunday, 10 October, 2014.

A preview segment from TO SATISFY THEIR CRUEL HUNGER was presented by guitar ensemble ONE
CHORD PONIES at Queering Sound 2014.

STYLUSwere featured performers at the 32nd annualArtscapein Baltimore MD on Saturday 20 July,
2013, as part of Worlds in Collusion, a project of High Zero Foundation
supported by The Baltimore Office of Promotion and the Arts andUniversity of Baltimore.

I VOW TO THEE, MY
COUNTRY :THAXTED:A discredited
theorem on celestial electromagnetism + astrologic mythology overlay before the
GraduateStudentForum, Princeton 1953used prepared vinyl recordings + live digital editing in a score
informed by Morse code,musicauniversalisand failed research methodology.
The score used a Morse code transcription of ImmanuelVelikovsky'scomments on radio noises from Jupiter
as notation for each turntable part, which was then playedstaccatoandlegatoon vintage recordings ofHolst: The
Planets, Opus 32 (Westminster; 1954) and Dvorak: Symphony No. 9 in E Minor,
Opus 95 "From the New World" (Musicraft;
1945). The vintage recordings were variously inscribed with block letters
spelling C-O-L-L-I-D-E and J-U-P-I-T-E-R. Radio wave drones, Morse code, MIDI
piano and live mixing/effects were also interspersed with the punctuated vinyl
outbursts as turntablism roles/responsibilities shift between the players, in
subtle mimicry of the transitions and transferences of radiographic energy. The
piece closed with a melancholy epilogue composed for MIDI piano and cello with
the STYLUS participants moving amongst the audience while playing transistor radios.

STYLUS performance for Worlds
in Collusionat Lucy and Vernon
Wright Theater - The University of Baltimore Student Center (I Vow
to Thee, My Country :Thaxed; 20 July 2013) on Soundcloud.

STYLUSreturned to the Kennedy Center Millennium Stage on Saturday, 23
May 2012, as Sonic Circuits
presented a celebration of classic John Cage compositions re-interpreted
and performed by local artists. STYLUS performed Credo in Us (1945) re-scored for 'prepared' vinyl recordings of the
original Cage piece and augmented with 1960s sound-effects albums, electric
buzzers and hand-held radios. Special thanks to Dave Vosh,
Doug Poplin, STYLUS member Jeff Bagato and Keith Sinzinger's nephew Ryan
who added the sounds of buzzers and radios to the STYLUS performance from out
in the audience in true Fluxus happening fashion. (Extra special thanks
to Keith forconstructingsuch amazing electricbuzzers!)

STYLUS performance (Credo in Us; 25 May 2012) video at the Kennedy Center

STYLUSperformed live soundtracks
to two classic silent films, Lot in Sodom
(James Sibley Watson and Melville Webber, 1933) and Emak-Bakia (Man Ray, 1926) for
the Sonic Circuits 2011 Festival
opener at the AFI Silver Theatre
on Wednesday, 14 September. For Lot in Sodom, STYLUS was augmented by
Doug Poplin (Bach Sinfonia; BLK w/BEAR) and ensemble member Janel Leppin on
cellos. Eschewing their locked-groove vinyl for this performance, STYLUS in
place used prepared Jazz and Classical 78rpm recordings altered in homage to
the Man Ray readymade Cadeau (1921) and
subjected to additional inscriptions and machinations. Program
Notes (PDF file; 1 page)